The Plough and the Stars.pptx

2006

Cet article analyse deux pieces qui mettent en scene le soulevement de Pâques 1916 a Dublin — The Plough and the Stars (1926), de Sean O’Casey, et The Patriot Game (1991) de Tom Murphy —, et montre comment les deux pieces utilisent des techniques meta-theâtrales pour interroger la maniere dont s’ecrit l’histoire du Soulevement. Tandis que The Plough and the Stars tente de deconstruire le mythe ebauche par les rebelles eux-memes, et consolide par l’historiographie nationaliste au cours des dix annees suivantes, The Patriot Game remet en perspective le scepticisme d’O’Casey et reaffirme l’importance du Soulevement pour la memoire collective irlandaise.

Bulletin of Advanced English Studies – Vol. 1, No. 1 , 2018, pp. 16 - 27, 2018

Sean O'Casey is considered one of the greatest play writers in the Irish Dramatic Movement. His importance refers back to his realistic portrayal of the Irish society in general and of Dublin in particular. It is his experience in the slums of Dublin that provides him with the details that he employed in his plays. The study aims at proving that by describing Dublin slums, O'Casey indirectly directs a criticism of the social and political reality as a background of the bloody events that Ireland witnessed. The plays that are going to be studied are The shadow of a gunman, Juno and the Paycock, Red Roses for me. Unlike other Irish dramatists who idealized Ireland, O'Casey reveals the contradictions in the Irish society. Thus, the study concludes that O'Casey is distinguished from other Irish writers in avoiding the idealized portrayal of Ireland and offers us a mock-heroic treatment of his society

National Library of Ireland catalogue of the papers of Eileen O'Casey. Literary and personal papers of Eileen O’Casey (née Reynolds), including drafts, proofs, press cuttings, correspondence and ephemera. Also contains a collection of papers relating to her husband, the playwright Sean O’Casey, including royalty statements and copies of his correspondence (1921-1996).

2017

Leaving aside historical and mythological dramas, a considerable number of plays written for the Abbey Theatre between 1904 and the outbreak of the Second World War represent emigration. They enjoyed varying degrees of success. In 1904 G.B. Shaw portrayed an Irish émigré as one of the two protagonists in John Bull’s Other Island; in the following two years Padraic Colum’s The Land and William Boyle’s The Mineral Workers were enthusiastically received by Abbey Theatre audience, the former with its depiction of young Irish men and women emigrating to America, the latter, an engineer returning to Ireland from overseas; 1907 saw three plays presenting emigration as one of the great Irish issues, both politically and economically: J.M. Synge’s The Playboy of the Western World, George Fitzmaurice’s The Country Dressmaker and Lady Augusta Gregory’s The Jackdaw. They were followed by T.C. Murray’s Birthright, Lennox Robinson’s Harvest and Colum’s Thomas Muskerry. Indeed, it is almost imposs...

Ɖ ire-Ireland, 2004

S J O'G is one of the most enigmatic and influential figures of late-nineteenth-century Irish cultural history. He praised aristocratic values and denounced the aristocracy; Lady Gregory called him a "Fenian Unionist," and Pearse acknowledged his influence. There have been two recent substantial studies;¹ both emphasize his use of saga material. This article analyzes some previously unknown journalism, and relates O'Grady's social criticism and work on Elizabethan Ireland to his attempt to reconcile unionism and nationalism through nineteenth-century British Romantic social criticism and the eighteenth-century Patriot tradition.

Fortnight No. 429 (Oct., 2004), pp. 26-27, 2004

International Yeats Studies, 2017

The Journal of British Studies, 2011

W hen the Irish Republican Army (IRA) again embarked upon armed struggle in 1956, it was again for "an independent, united democratic Irish republic." "This is the age-old struggle of the Irish people versus British aggression," read the Proclamation of December 1956. 1 The plan was for "flying columns"-which had played an important role in the Anglo-Irish war of 1919-21-to cross into North Ireland's border counties and link up with local units. 2 The four columns were named after republican heroes (Patrick Pearse, Tom Clarke, Bartholomew Teeling, and Liam Lynch) and Tom Barry, who had written the West Cork flying column of the Anglo-Irish War into legend, was called upon to train his successors. 3 By fleeing into the past, however, the IRA was forced once again to retreat: the present problems of the North's security apparatus, the South's hostility, and the Catholic community's indifference could not be overcome by anachronistic tactics. 4 In February 1962, when the IRA finally faced up to the failure of the campaign, the Army Council blamed "the attitude of the general public whose minds have been deliberately distracted from the supreme issue facing the Irish people-the unity and freedom of Ireland." 5 Before continuing with this narrative about the Irish revolutionary tradition, it Simon Prince is a modern British and Irish historian at the Department of History, King's College London. He would like to thank Roy Foster for his advice and guidance. He is also grateful to Robert Tombs,